{"id":522,"date":"2019-09-20T13:33:41","date_gmt":"2019-09-20T13:33:41","guid":{"rendered":"https:\/\/www.letrat.eu\/?p=522"},"modified":"2026-04-09T00:58:15","modified_gmt":"2026-04-08T23:58:15","slug":"pikat-e-hirst-pikat-me-te-shtrenjta-te-universit-i","status":"publish","type":"post","link":"https:\/\/letrat.eu\/?p=522","title":{"rendered":"“Pikat” e Hirst – Pikat m\u00eb t\u00eb Shtrenjta t\u00eb Universit! (I)"},"content":{"rendered":"

S. Guraziu – Ars Poetica, M 2016 (Natyra e hareshme e ngjyr\u00ebs – Art Kontemporan)<\/em><\/p>\n

(…ndoshta bosh\u00ebsia “kontemporane” nuk \u00ebsht\u00eb aspak bosh, pasi q\u00eb arti ashtu-k\u00ebshtu \u00ebsht\u00eb i paarritsh\u00ebm, s’ka “pik\u00eb” t\u00eb k\u00ebtij universi n\u00eb t\u00eb cil\u00ebn nuk fshihet di\u00e7ka – pikat e Hirst jan\u00eb pikat m\u00eb t\u00eb shtrenjta artistike q\u00eb ka njohur bota e artit ndonj\u00ebher\u00eb<\/strong>…)<\/p>\n

\"\"<\/p>\n

I.
\nAminoantipyrine, 1992 – Amphotericin B, 1993 – Bipyridinium Dibromide-N, N-Tetramethylene, 1995 – Levorphanol, 1995 – Avidin-Hemocyanin, 1995 – Biphenol, 1996 – Bromoacetyl Chloride, 1996 – Bromoadamantane, 1996 – Opium, 2000 – Valium, 2000 – Lycergic acid diethylamide (LSD), 2000 – Tetrahydrocannabinol, 2004 – Methamphetamine, 2004 – Potassium Chloride ACS Reagent, 2004 – Diacetoxyscirpenol, 2005 – Diethylene Glycol, 2006 – Fluoro-Nitrotoluene, 2006 – Sulbenicilina Disodica, 2007 – Aminouracil, 2007 – Ellipticine, 2007 – Flumequine, 2007 – Hydrastinine, 2007 – 5-Fluorotryptamine, 2007 – Cephalothin, 2007 – Aminobenzoyl Hydrazide, 2008 – Rhodanine, 2008 – Oleoylsarcosine, 2008 – Histidyl, 2008 – Proctolin, 2008 – Aurous Iodide, 2009 – Methyl Phenysulfoxide, 2010 – Phenylpropiolic Acid, 2010 etj. etj.<\/p>\n

K\u00ebta terma t\u00eb cil\u00ebt i rendita q\u00ebllimisht q\u00eb n\u00eb hyrje t\u00eb shkrimit, n\u00eb dukje sikur s’kan\u00eb asgj\u00eb t\u00eb b\u00ebjn\u00eb me artin, por me shkenc\u00ebn e kimis\u00eb organike… apo me ndonj\u00eb p\u00ebrzierje shkencash organike-inorganike. Nuk i rendita p\u00ebr ta trembur q\u00eb me rreshtin e par\u00eb lexuesin eventual : ) Termat “a la science” m\u00eb lart aktualisht jan\u00eb tituj pikturash, jan\u00eb tituj t\u00eb p\u00ebrzgjedhur p\u00ebr pikturat e veta, huazuar (prej vet\u00eb Hirst) nga fjalori i fush\u00ebs s\u00eb farmaceutik\u00ebs. Dhe jan\u00eb vet\u00ebm nj\u00eb pjes\u00eb e vog\u00ebl nga titujt e veprave specifike (artistike) t\u00eb tij; vepra q\u00eb konsistojn\u00eb nga nj\u00eb seri variacionesh t\u00eb “pikave”, dhe q\u00eb t\u00eb cilat pika, sipas meje, lirisht mund t\u00eb quhen pikat m\u00eb t\u00eb “shtrenjta” n\u00eb historin\u00eb e artit.
\nPse “pikat m\u00eb t\u00eb shtrenjta”? Jo si kuriozitet, por thjesht si fakt – sipas meje ato v\u00ebrtet dhe jan\u00eb pikat m\u00eb t\u00eb shtrenjta artistike q\u00eb ka njohur bota e artit ndonj\u00ebher\u00eb. Do provoj q\u00eb t\u00eb p\u00ebrq\u00ebndrohem rreth k\u00ebsaj “pse-je” tutje gjat\u00eb shkrimit.<\/p>\n

Pikturat “pikaloshe” t\u00eb Damien Hirst i tejkalojn\u00eb 1500-1600 sosh, apo n\u00eb fakt ndoshta askush nuk e di sakt\u00ebsisht numrin e tyre, q\u00ebkur nj\u00eb pjes\u00eb e tyre riprodhohen p\u00ebr shitje si seri (prej 90, 140, 300, 450, 500 sosh, var\u00ebsisht nga atmosfera e ankandeve, ku ato duhen shitur). Ato jan\u00eb t\u00eb “ndryshme” vet\u00ebm sa i p\u00ebrket madh\u00ebsis\u00eb s\u00eb p\u00eblhur\u00ebs dhe nga pikat si njolla n\u00eb vetvete. Brenda \u00e7do pikture, pikat-njollat e ngjyr\u00ebs sikur prezantojn\u00eb nj\u00eb rrjet. Thuhet se asnj\u00eb ngjyr\u00eb nuk p\u00ebrs\u00ebritet, dhe se pikat si t\u00eb ve\u00e7anta nuk bashk\u00ebveprojn\u00eb (nuk form\u00ebsojn\u00eb ndonj\u00eb dometh\u00ebnie). Pikturat jan\u00eb em\u00ebruar nga artisti bazuar n\u00eb komponimet kimike t\u00eb ndryshme.<\/p>\n

Ky fabrikim industrial, kjo seri e “\u00e7uditshme” pikturale prej pikave, tashm\u00eb p\u00ebr dekada me radh\u00eb na p\u00ebrshfaq fusha t\u00eb pastra “kanavaceske” t\u00eb mbushura me pika, her\u00eb-her\u00eb t\u00eb nj\u00eb madh\u00ebsie t\u00eb nj\u00ebjt\u00eb (por q\u00eb madh\u00ebsia e tyre ndryshon nga piktura n\u00eb piktur\u00eb), vendosur n\u00eb nj\u00eb larg\u00ebsi t\u00eb nj\u00ebjt\u00eb nga nj\u00ebra-tjetra, duke p\u00ebrfshir\u00eb ngjyra t\u00eb ndryshme, ujdisur n\u00eb nj\u00eb sip\u00ebrfaqe pothuaj “sterile”, t\u00eb pap\u00ebrlyer, n\u00eb m\u00ebnyr\u00eb uniforme.<\/p>\n

Punimet e tilla t\u00eb artistit Hirst konsiderohet se vuajn\u00eb nga mungesa serioze e substancialitetit dhe origjinalitetit, n\u00eb an\u00ebn tjet\u00ebr ajo \u00e7far\u00eb \u00ebsht\u00eb duke ngjar\u00eb n\u00eb rrethet e tregtar\u00ebve, me ata q\u00eb e kan\u00eb biznes shitje-blerjen e “vlerave” t\u00eb artit kontemporan, \u00ebsht\u00eb pothuaj e pabesueshme.
\nNj\u00eb pjes\u00eb e mendimtar\u00ebve kritik\u00eb nuk ngurrojn\u00eb ta fshikullojn\u00eb “plagjiatin” ideatik t\u00eb Hirst, pasi q\u00eb ai me “pikat” dhe nuk \u00ebsht\u00eb origjinal, dihet kjo. Disa t\u00eb tjer\u00eb qasjen e tij e quajn\u00eb si “ridefinim t\u00eb huazimit” ideatik, e disa t\u00eb tjer\u00eb artistin Hirst e quajn\u00eb si “distilues t\u00eb modeleve n\u00eb artin bashk\u00ebkohor, duke i zb\u00ebrthyer modelet deri n\u00eb form\u00ebn e tyre m\u00eb minimale, m\u00eb thelb\u00ebsore”.
\nPor si mund t\u00eb ket\u00eb “distilim modelesh” kur vet\u00eb modelet s’jan\u00eb prezente – a thua vall\u00eb sintetizimi i njollave t\u00eb brushave n\u00eb “pika” t\u00eb vetme mund t\u00eb quhet “distilim modelesh”?!<\/p>\n

Thuhet se artisti Hirst i ka pikturuar vet\u00ebm 5-6 sosh si piktura “me pika”, dikur n\u00eb vitet ’80 – pjesa tjet\u00ebr jan\u00eb b\u00ebr\u00eb nga t\u00eb tjer\u00ebt, pjes\u00eb e industris\u00eb. Vall\u00eb si mund t\u00eb quhen “punime t\u00eb artistit Hirst”, kur ato s’jan\u00eb madje fare punime t\u00eb tij, por kopje, riprodhime, fabrikime! Apo dhe mund t\u00eb quhen, sepse fjala \u00ebsht\u00eb p\u00ebr shitje dhe p\u00ebr profitabilitet me prodhimet industriale “artistike”! Pse t’mos ndodh\u00eb e nj\u00ebjta ironi industriale dhe n\u00eb art! Mos vall\u00eb duke nd\u00ebrfutur vet\u00eb ironin\u00eb e “industrializimit” n\u00eb art, na p\u00ebrqeshet ironia e p\u00ebrgjithshme e industrializimeve t\u00eb njeriut!
\nStudiot me stafin e artist\u00ebve “pa em\u00ebr” (si nj\u00eb lloj fabrike), ng\u00ebrthyer nga ethet komerciale, shtyr\u00eb nga biznes-aranzhimet e tregtar\u00ebve t\u00eb suksessh\u00ebm, sjellin n\u00eb drit\u00eb me dhjetra e qindra “pikturash pikaloshe”. T\u00eb gjitha kreditohen “si vepra t\u00eb Damien Hirst”. Thuhet se p\u00ebr nj\u00eb “pikaloshe” prej 1 milion pikash \u00ebsht\u00eb duke punuar nj\u00eb staf i t\u00ebr\u00eb, dhe se p\u00ebrfundimi i “pikaloshes nj\u00eb-milion\u00ebshe” do haj\u00eb jo m\u00eb pak por 9 vite!<\/p>\n

Nuk \u00ebsht\u00eb i pari artist Damien Hirst, dhe as i fundit, q\u00eb \u00ebsht\u00eb marr\u00eb dhe merret me pikat (madje seria e “pikave” \u00ebsht\u00eb vet\u00ebm nj\u00ebra gam\u00eb seriale-pikturale e tij; jan\u00eb po ashtu serit\u00eb tjera si “kafkat”, “fluturat” etj). Me pika jan\u00eb marr\u00eb dhe akoma merren edhe artist\u00eb t\u00eb tjer\u00eb, si psh. nj\u00eb nga eksponent\u00ebt m\u00eb interesant t\u00eb “pikologjis\u00eb pikturale” ndoshta do ishte artistja japoneze Yayoi Kusama. \u00cbsht\u00eb v\u00ebrtet mahnit\u00ebse prezenca e saj prej gjasht\u00eb dekadash n\u00eb aren\u00ebn e artit bot\u00ebror kontemporan. Veprat artistike t\u00eb Kusama jan\u00eb pjes\u00eb e koleksioneve t\u00eb muzeumeve m\u00eb t\u00eb njohur t\u00eb bot\u00ebs. \u00cbsht\u00eb nderuar me \u00e7mime t\u00eb ndryshme p\u00ebr vepr\u00ebn e saj artistike. N\u00eb vitin 2006, Yayoi Kusama u b\u00eb gruaja e par\u00eb japoneze t\u00eb nderohet me “Praemium Imperiale”, nj\u00eb nga \u00e7mimet m\u00eb prestigjioze t\u00eb Japonis\u00eb p\u00ebr artist\u00ebt e njohur nd\u00ebrkomb\u00ebtarisht. N\u00eb vitin 2008 Nju Jork Christies pati shitur nj\u00eb vep\u00ebr t\u00eb Kusamas\u00eb p\u00ebr 5.100.000 dollar\u00eb…<\/p>\n

Ch. Nelkin, me rastin e ekspozit\u00ebs n\u00eb Tate Modern t\u00eb Londr\u00ebs, n\u00eb vitin 2012, shkruante – edhe pse jasht\u00eb qarqeve artistike Kusama ndoshta dhe nuk njihet aq. Pikturat e ciklit “Infinity…” t\u00eb l\u00ebn\u00eb pa frym\u00eb. N\u00eb dukje njolla brushash nj\u00ebtrajt\u00ebsore t\u00eb pafund, me nj\u00eb ngjyre t\u00eb vetme n\u00eb nj\u00eb sfond kontrastues, por ato kan\u00eb nj\u00eb efekt qet\u00ebsues brenda nesh, ndon\u00ebse e qart\u00eb se jan\u00eb t\u00eb ngarkuara emocionalisht me temat e obsesionit dhe me joshjen “detyruese”. Kan\u00eb nj\u00eb cil\u00ebsi t\u00eb hipnotizimit, arritur kjo me p\u00ebrdorimin e nj\u00ebjt\u00eb t\u00eb sip\u00ebrfaqes s\u00eb teksturizuar…”!<\/p>\n

N\u00eb vitin 2013 nj\u00eb koment-v\u00ebshtrim t\u00eb shkurt\u00ebr rreth artistes Kusama, e pata mbyllur si vijon:
\n“Mund t\u00eb shkruhet apo t\u00eb thuhet shum\u00e7ka p\u00ebr k\u00ebt\u00eb “gjyshe” japoneze me emrin Kusama, k\u00ebmb\u00ebngult\u00ebsia, “pikat” si obsesion artistik p\u00ebr dekada dhe p\u00ebrjetimet halucinative t\u00eb f\u00ebmij\u00ebris\u00eb ashtu-k\u00ebshtu e kan\u00eb b\u00ebr\u00eb t\u00eb pavdekshme si artiste, por n\u00ebse e shohim artistikisht edhe “shpin\u00ebn” e nj\u00eb pikture (dmth. andej diku prapa korniz\u00ebs), mendoj q\u00eb marr\u00ebveshja e vitit 2012 p\u00ebr bashk\u00ebpunim mes Kusama dhe Louis Vuitton* \u00ebsht\u00eb ajo kurora e praruar, \u00ebsht\u00eb d\u00ebshmia m\u00eb bind\u00ebse, vula m\u00eb kredibile p\u00ebr vulosjen e stilit t\u00eb saj autentik – lindja e nj\u00eb marke pikash (q\u00eb ting\u00ebllon “Kusama” kudo dhe n\u00eb secilin skaj t\u00eb bot\u00ebs) n\u00eb vetvete mund t\u00eb jet\u00eb m\u00eb e zhurm\u00ebshme sesa “zhurma” e t\u00eb gjitha muzeumeve s\u00eb bashku” – (S. Guraziu – Grand-Zonja 84 vje\u00e7are n\u00eb aren\u00ebn e artit dhe Louis Vuitton!, Tetor 2013).<\/p>\n

***
\nSipas kritik\u00ebve aty-k\u00ebtu, edhe n\u00eb rastin e Damien Hirst e edhe t\u00eb Yayoi Kusama fjala \u00ebsht\u00eb p\u00ebr “fiksime artistike”. N\u00eb rastin e artistes japoneze Kusama, pikat e saj shprehin nj\u00eb “fiksim” mendor, psikologjik.
\nN\u00eb rastin e Hirst, pikturat “pikaloshe” zbulojn\u00eb nj\u00eb mani t\u00eb vazhdueshme n\u00eb p\u00ebrputhje me thelbin e praktik\u00ebs s\u00eb mas\u00eb-prodhimit (industrial – e q\u00eb artisti Hirst, e qart\u00eb, si subjekt e “rrah” industrin\u00eb farmaceutike).
\nEdhe p\u00ebr artist\u00eb t\u00eb tjer\u00eb t\u00eb artit kontemporan, si Eric Kuns, Thomas Downing, Ellsworth Kelly, Gerhard Richter, sipas kritik\u00ebve n\u00eb p\u00ebrgjith\u00ebsi “p\u00ebrs\u00ebritja” e vazhdueshme n\u00ebnvizon nj\u00eb motiv t\u00eb obsesionit.<\/p>\n

Por n\u00ebse e dim\u00eb q\u00eb pikturat “me pika” t\u00eb Damien Hirst p\u00ebrfaq\u00ebsojn\u00eb substancash t\u00eb ndryshme dhe komponimesh kimike, do ishte mir\u00eb ta kornizojm\u00eb veten duke i parasjellur ca pyetjesh:<\/p>\n

– N\u00ebse artisti Hirst e “thumbon” artistikisht praktik\u00ebn dhe “mish\u00ebrimin” e natyr\u00ebs njer\u00ebzore sa i p\u00ebrket mas\u00eb-prodhimit (duke e tematizuar si shembull industrin\u00eb farmaceutike) at\u00ebher\u00eb vall\u00eb si \u00ebsht\u00eb e mundur r\u00ebnia n\u00eb t\u00eb nj\u00ebjt\u00ebn “grack\u00eb” t\u00eb mas\u00eb-prodhimit artistik, v\u00ebn\u00eb n\u00eb jet\u00eb nga vet\u00eb ai… dhe nga makineria e fabrikimeve “artistike”, si ndonj\u00eb instalacion masiv industrial i gryk\u00ebsis\u00eb?!<\/p>\n

– Vall\u00eb pse duhet q\u00eb p\u00ebr dekada t\u00eb t\u00ebra t\u00eb p\u00ebrs\u00ebritet i nj\u00ebjti “continuum” artistik – nj\u00eb lloj sekuencash t\u00eb vazhdueshme n\u00eb t\u00eb cilat elementet p\u00ebrb\u00ebrse nuk perceptohen si t\u00eb ndrysh\u00ebm nga nj\u00ebri-tjetri, anise p\u00ebrfundimisht sekuencat jan\u00eb mjaft t\u00eb dallueshme (n\u00eb rastin e japonezes Kusama kemi nj\u00eb jet\u00eb t\u00eb t\u00ebr\u00eb artistike kushtuar “pikave” dhe sekuencave) – apo vet\u00ebm e vet\u00ebm p\u00ebr t\u00eb dalur n\u00eb pah “obsesioni” artistik?! \u00c7’n\u00ebnkupton obsesioni si vler\u00eb – ka k\u00ebtu ndonj\u00eb vler\u00eb apo \u00ebsht\u00eb thjesht “nonsens” (pasi q\u00eb n\u00eb rastin e britanikut D. Hirst – obsesioni seriografik kryek\u00ebput e p\u00ebrshfaq pik\u00ebv\u00ebshtrimin subjektiv artistik, pa na ofruar asgj\u00eb t\u00eb re p\u00ebr dekada t\u00eb t\u00ebra, asnj\u00ebra nga sekuencat, p\u00ebrve\u00e7 “obsesionit bosh”)?<\/p>\n

– Tutje, e dim\u00eb q\u00eb Hirst nuk \u00ebsht\u00eb i vetmi artist “pikalosh”, por vall\u00eb \u00e7far\u00eb \u00ebsht\u00eb duke u p\u00ebrpjekur p\u00ebr t\u00eb p\u00ebrfaq\u00ebsuar Hirst me loj\u00ebn e fiksuar t\u00eb pikave – nj\u00eb piktur\u00eb e vetme do ishte e mjaftueshme p\u00ebr ta bartur gjith\u00eb iden\u00eb e mesazhin, at\u00ebher\u00eb vall\u00eb pse duhet me dekada ky lloj i persistenc\u00ebs “obsesive”?!<\/p>\n

– Pasi q\u00eb teorit\u00eb kritike e kan\u00eb qart\u00ebsuar “veten” q\u00eb moti: vet\u00ebm origjinaliteti \u00ebsht\u00eb art, assesi serit\u00eb e p\u00ebrs\u00ebritjeve t\u00eb s\u00eb nj\u00ebjt\u00ebs – at\u00ebher\u00eb, athua rregullimi i pikave t\u00eb ngjyr\u00ebs n\u00eb m\u00ebnyr\u00eb “uniforme” t\u00eb ket\u00eb ndonj\u00eb kuptim t\u00eb ve\u00e7ant\u00eb? N\u00ebse po, cili \u00ebsht\u00eb pra kuptimi, ku q\u00ebndron origjinaliteti, ku fshihet e ve\u00e7anta e kuptim\u00ebsis\u00eb – n\u00ebse din\u00eb di\u00e7 kritik\u00ebt e bot\u00ebs, at\u00ebher\u00eb pse ata heshtin? Apo arti kontemporan thjesht e ka tejkaluar vet\u00eb “artin”… s’kan\u00eb fjal\u00eb as ata, kan\u00eb ngelur goj\u00ebmbyllur!<\/p>\n

– P\u00ebrndryshe \u00e7far\u00eb fshihet prapa “ve\u00e7an\u00ebris\u00eb” s\u00eb k\u00ebtyre pikturave, aq sa t’u jipet vend ekspozues dhe p\u00ebrkushtim nga galerit\u00eb anek\u00ebnd bot\u00ebs – \u00e7far\u00eb dhe kush, cilat qarqe i b\u00ebjn\u00eb k\u00ebto piktura aq “speciale” sa rreth tyre t\u00eb v\u00ebrtiten \u00e7mime astronomike n\u00ebp\u00ebr auksionet e tregtar\u00ebve me artefaktet e bot\u00ebs?!<\/p>\n

– Mos vall\u00eb jemi duke u marr\u00eb me eksploatim t\u00eb vet\u00ebdijsh\u00ebm (por ama pothuaj deri n\u00eb nj\u00eb nivel t\u00eb “pavet\u00ebdijsh\u00ebm”) t\u00eb manipulimeve dhe t\u00eb bosh\u00ebsis\u00eb-shterp\u00ebsis\u00eb artistike – dhe at\u00eb thjesht sepse jemi ne vet\u00eb ata q\u00eb i paradefinojm\u00eb abstraksionet dhe t\u00eb gjitha hesapet rreth vlerave artistike kolektive?!<\/p>\n

Aspak m\u00eb ndryshe, ndoshta thjesht si n\u00eb rastin e nj\u00eb medaljoni-dhurat\u00eb nga nj\u00eb dikush i shtrenjt\u00eb e i shenjt\u00eb p\u00ebr ne. Vlera e atij medaljoni rritet proporcionalisht me “lidhjen emocionale” q\u00eb kemi ndaj personit n\u00eb fjal\u00eb. Vlera e asaj dhurate eventualisht do jet\u00eb e pakapshme p\u00ebr cilindo kend jasht\u00eb sfer\u00ebs son\u00eb “emocionale” – s’ka para t\u00eb bot\u00ebs q\u00eb do t’mund ta paguanin nj\u00eb rekuizit i cili na \u00ebsht\u00eb kujtimi m\u00eb i shtrenjt\u00eb si dhurat\u00eb nga vet\u00eb n\u00ebna, sa ishte gjall\u00eb.<\/p>\n

Ose, figurativisht ndoshta ilustrimin do ta ndihmonte shembulli i kryeprotagonistes s\u00eb Titanic, t\u00eb James Cameron – Plaka Rose ua rr\u00ebfen storien e saj “hulumtuesve” t\u00eb thesareve, dhe tutje vizuelisht neve, spektator\u00ebve. Asaj n\u00eb rini, gjat\u00eb tragjedis\u00eb s\u00eb fundosjes i dhurohet “Zemra e Oqeanit”, em\u00ebr ky simbolik p\u00ebr nj\u00eb diamant t\u00eb madh blu, jasht\u00ebzakonisht t\u00eb shtrenjt\u00eb. Rose pati shp\u00ebtuar, mir\u00ebpo sikur m\u00eb me d\u00ebshir\u00eb pati dashur t\u00eb mos shp\u00ebtonte, t\u00eb ikte n\u00eb bot\u00ebn p\u00ebrtej s\u00eb bashku me dashurin\u00eb e saj. Pastaj sikur t\u00ebr\u00eb jet\u00ebn pati ngelur peng i premtimit t\u00eb vet. I dashuri sakrifikohet n\u00eb uj\u00ebrat e ftohta t\u00eb oqeanit, por n\u00eb fjal\u00ebt e tij, ajo duhej ta gjente vullnetin dhe t\u00eb jetonte tutje, zemra e saj assesi “s’guxonte” t\u00eb ndalej. Ajo duhej t’i premtonte – dhe Rose ia pati dh\u00ebn\u00eb fjal\u00ebn. Diamanti sikur qe kthyer n\u00eb shtyll\u00ebn qendrore t\u00eb kujtes\u00ebs s\u00eb saj – kujtes\u00eb p\u00ebr natyr\u00ebn e p\u00ebrkoh\u00ebshme t\u00eb dashuris\u00eb tok\u00ebsore, si segment i asaj t\u00eb “p\u00ebrjetshmes”. Rosi gjat\u00eb gjith\u00eb jet\u00ebs e pati mbajtur diamantin si kujtimin m\u00eb t\u00eb shtrenjt\u00eb t\u00eb dashuris\u00eb – si rekuzit i shtrenjt\u00eb emocionalisht por dhe realisht, me vler\u00ebn abstrakte t\u00eb bot\u00ebs materialiste. Ajo e dinte q\u00eb s’mund ta merrte me vete, n\u00eb bot\u00ebn p\u00ebrtej s’mund t\u00eb merret asgj\u00eb, e megjithat\u00eb sikur pati provuar gjat\u00eb gjith\u00eb jet\u00ebs p\u00ebr ta bindur veten. N\u00eb fund, at\u00eb q\u00eb ia pati dhuruar dikur oqeani, Rose ia kthen rishtas oqeanit, e hedh diamantin n\u00eb uj\u00ebrat… duke liruar kujtes\u00ebn p\u00ebr t\u00eb dashurin e sakrifikuar dhe duke “plot\u00ebsuar” premtimin e rinis\u00eb. Tani n\u00eb vitet e fundit t\u00eb jet\u00ebs, secilin moment mund t’i “bashkohej” dashuris\u00eb s\u00eb humbur dikur.
\nSi akt, t\u00eb hedhurit e diamantit n\u00eb oqean, ndoshta m\u00eb e leht\u00eb do t’na dukej i “pakuptush\u00ebm”, ndoshta dhe nj\u00eb absurd i llojit t\u00eb vet, si akt. M\u00eb shum\u00eb “logjik\u00eb” do kishte sikur ajo t’mos e shp\u00ebrfillte vler\u00ebn e diamantit por t’ia dhuronte kujtdoqoft\u00eb n\u00eb bot\u00ebn e t\u00eb gjall\u00ebve. Gjithsesi, nga k\u00ebndv\u00ebshtrimi romantik i “stories titanike”, fundosja e diamantit n\u00eb thell\u00ebsit\u00eb ku dikur qe tretur dashuria e saj, \u00ebsht\u00eb d\u00ebshmia e vler\u00ebs s\u00eb pakrahasueshme emocionale q\u00eb ajo e pati ushqyer n\u00eb zemr\u00ebn e vet p\u00ebr gjith\u00eb jet\u00ebn. Nuk mund t\u00eb jet\u00eb asgj\u00eb e k\u00ebsaj bote m\u00eb e “shtrenjt\u00eb” sesa vet\u00eb jeta!<\/p>\n

Sot, komercializimi i artit sikur bashk\u00ebdyzohet me “ideologjin\u00eb suprematike t\u00eb establishmentit lidhur me vlerat artistike”, por rishtas mund t\u00eb hamend\u00ebsojm\u00eb: vall\u00eb \u00e7far\u00eb vlere do kishin “pikat” e Hirst n\u00ebse ato t’i zhvishnim totalisht nga “komercialja” marramend\u00ebse (e cila pothuaj i prek miliardat… n\u00eb termat e verdhushkave)!?<\/p>\n

N\u00eb bot\u00ebn anglishtfol\u00ebse mbase gjith\u00e7ka e k\u00ebrsh\u00ebris\u00eb rreth pikturave “pikaloshe” do t’mund t\u00eb rrumbullak\u00ebsohej fare shkurt me shprehjen tro\u00e7:
\n“What’s the point”?! There’s no point, so many meaningless points… without a point”! : )<\/p>\n

Apo thjesht bosh\u00ebsia “kontemporane” nuk \u00ebsht\u00eb aspak bosh, pasi q\u00eb arti ashtu-k\u00ebshtu \u00ebsht\u00eb i paarritsh\u00ebm, s’ka “pik\u00eb” t\u00eb k\u00ebtij universi n\u00eb t\u00eb cil\u00ebn nuk fshihet di\u00e7ka.
\nQ\u00ebllimin e tij artistik, vet\u00eb artisti Hirst e pati p\u00ebrshkruar k\u00ebshtu: “kisha q\u00ebllim ta krijoj at\u00eb struktur\u00eb, t’i b\u00ebja ato ngjyra, dhe asgj\u00eb m\u00eb shum\u00eb. Dhe papritmas rezultoi ajo q\u00eb po k\u00ebrkoja. Ishte vet\u00ebm nj\u00eb m\u00ebnyr\u00eb p\u00ebr ta fiksuar (n\u00eb p\u00eblhur\u00eb) natyr\u00ebn e hareshme t\u00eb ngjyr\u00ebs”.<\/p>\n

| – – –\u00a0 v i j o n – – –<\/p>\n

*
\nLouis Vuitton<\/strong>, shkurtuar LV, \u00ebsht\u00eb nj\u00eb sht\u00ebpi mode franceze, e themeluar n\u00eb vitin 1854. Sa i p\u00ebrket luksoziteteve p\u00ebr 6 vite me radh\u00eb (nga 2006 deri 2012) Louis Vuitton u konsiderua si marka m\u00eb e vlefshme e bot\u00ebs. Vlera e LV n\u00eb v. 2012 ishte 25.9 miliard\u00eb dollar\u00eb (sipas t\u00eb dh\u00ebnave nga: Bloomberg – “Louis Vuitton Tops Hermes As World’s Most Valuable Luxury Brand” by A. Roberts<\/em>)<\/p>\n

Damien Hirst<\/strong> (lindur 1965) \u00ebsht\u00eb artisti m\u00eb i dalluar ose eksponenti m\u00eb famoz i rrym\u00ebs s\u00eb re “Young British Art” (Arti i Ri Britanik). Ka krijuar shum\u00eb vepra kontemporane t\u00eb cilat kan\u00eb t\u00eb b\u00ebjn\u00eb, n\u00eb m\u00ebnyra te ndryshme, me dashurin\u00eb, me raportin mes jet\u00ebs dhe vdekjes, me imoralitetin dhe me vet\u00eb natyr\u00ebn e Artit. Esht\u00eb i njohur n\u00eb gjith\u00eb bot\u00ebn dhe ka dominuar n\u00eb sken\u00ebn e artit britanik q\u00eb nga vitet ’90.<\/p>\n","protected":false},"excerpt":{"rendered":"

S. Guraziu – Ars Poetica, M 2016 (Natyra e hareshme e ngjyr\u00ebs – Art Kontemporan) (…ndoshta bosh\u00ebsia “kontemporane” nuk \u00ebsht\u00eb aspak bosh, pasi q\u00eb arti ashtu-k\u00ebshtu \u00ebsht\u00eb i paarritsh\u00ebm, s’ka “pik\u00eb” t\u00eb k\u00ebtij universi n\u00eb t\u00eb cil\u00ebn nuk fshihet di\u00e7ka… Lexo →<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[14,8],"tags":[],"class_list":["post-522","post","type-post","status-publish","format-standard","hentry","category-modern","category-ese"],"_links":{"self":[{"href":"https:\/\/letrat.eu\/index.php?rest_route=\/wp\/v2\/posts\/522","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/letrat.eu\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/letrat.eu\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/letrat.eu\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/letrat.eu\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=522"}],"version-history":[{"count":0,"href":"https:\/\/letrat.eu\/index.php?rest_route=\/wp\/v2\/posts\/522\/revisions"}],"wp:attachment":[{"href":"https:\/\/letrat.eu\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=522"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/letrat.eu\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=522"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/letrat.eu\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=522"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}